Kantai Collection -KanColle- OP Single – Miiro – Review

Review: Miiro, the opening theme song to Kantai Collection (KanColle), reaffirms a few of my preconceived notions about AKINO.

First off, when AKINO is involved in anything, expect her to fire off a volley of power pop that grabs you by the scruff of your neck and tosses you heavenward. In some instances, the journey is a blast like when her dazzling vocals during the chorus of “Sousei no Aquarion” leaves you completely pumped and in awe.

In this instance, however, her delivery takes the form of the ubiquitous, overblown power pop I’ve come to despise. The stanzas leading up to the chorus meander, but with an intensity that lacks any sort of nuance and finesse. While there are quieter interludes scattered here and there, the loudness rules supreme. AKINO bellows forth during the chorus, and the effect is overbearing. Even worse, she continues full throttle when she reaches the lyrics that touch upon a fallen comrade’s legacy. Such a line calls for a delicateness that is nonexistent in her performance and feels out of place as a result. And no, she doesn’t let up. Her intensity runs rampant across the remaining time allotted and only succeeds in leaving me annoyed and exhausted by the end.

All this leads to a second preconceived notion: “Miiro” exemplifies just how steep AKINO’s decline is without Yoko Kanno in the composer’s chair. While AKINO’s other works like “Sousei no Aquarion” and “Kimi no Shinwa” from Aquarion EVOL don’t lack intensity, what Kanno was able to supply in both songs are earwormy sections that really caught your attention. Memorable sections, which “Miiro” lacks completely. Perhaps the only good thing to be said is that this song is pretty forgettable.

The B-side, “Just Moving on Now” starts out with a quieter utterance that almost reminds me of “Genesis of Aquarion”, before AKINO lets out a cry and then proceeds into a quiet stanza that bears a hint of tension through the piano in the background. When AKINO continues, the progression feels much more natural than in the A-side, as it grows stronger en route to the chorus. The chorus itself is pretty serviceable in that composer Yuya Saito’s music flows nicely without requiring AKINO to scream at the top of her lungs. The ebbs and flows within the song also help to keep things engaging. So while the song, on the whole, is nothing that would really stick in my memory, this managed to be a pleasant listen.

Altogether, the Miiro single offers little beyond confirming that AKINO hasn’t found a composer who can bring out her best quite like Yoko Kanno. Intensity can only go so far; if it isn’t backed by an interesting song structure or an enjoyable melody, AKINO’s talents are wasted. The result is an intense, screaming mess.

Rating: Not Good

Kantai Collection -KanColle- OP – Miiro